Obscure Sound - Indie Music Blog

A good majority of people have, at one point in their lives, been forced to live with someone who does not exactly coincide with their standards of life. Roommate horror stories can be as amusing as they are appalling, but everyone recognizes that it is a part of life that most unspoiled individuals have to go through in order to live without a larger financial burden. As someone who has just gotten accustomed to living with a roommate over the past few weeks, I know that I fortunately got lucky by having someone who is not a hassle at all. In fact, we have actually become friends in the process. As most of us know though, the chance that a random pairing of roommates who have the capability to collaborate successfully on an artistic project is minimal, mainly because it is difficult to find such a compatible individual even if you were searching on your own. When Fred Nicolaus and Daniel Rossen were assigned by NYU as roommates in their freshman year of college in 2000, they likely went through the usual semi-awkward introductions. The first few weeks may have passed by without much chemistry, but eventually when they found a common bonding point in music, they knew that luck was on their side.

The freshman duo began writing songs on a regular basis after months of rooming together, utilizing an array of samples with programs that they were not hesitant to call “pirated”. Illegal or not though, they productively honed their skills and eventually found a meeting point in their intended style. Spacey folk has remained the main force at work, though their implementation of electronica is heavily prevalent in a form that is neither overwhelming nor stylistically desperate. Throwing them into that awkwardly titled “folktronica” category may be deemed appropriate by some, but avant-garde folk with a culturally resounding influence remains the most descriptively accurate for me personally. Think about something in the ambitiously folky vein of Grizzly Bear; it actually proves to be more than a mere comparison with some supporting background information that I will explain later. Recordings that were originally designed for the ears of friends only was uplifted into something more recognizable when the California-based Isota Records swooped Rossen and Nicolaus up, now with the alias of The Whitey on the Moon UK on their side. Mo’ ‘Tussin - the EP, their debut release, was put out in 2002 by Isota, featuring an impressive cast of ardent lo-fi efforts that allowed for a peek into the duo’s stylistic potential. However, it seems that when their alias changed, their sound shifted into a more expansive display that was for the better.

After putting out three more EPs and two LPs under the name of The Whitey on the Moon UK, the duo changed their name to Department of Eagles. It was primarily done to avoid a dispute with a band based out of San Fran by the name of The Whitey on the Moon, though Department of Eagles appears to me as a more concisely memorable choice regardless. Their first two full-lengths, The Whitey on the Moon UK LP and The Cold Nose, saw some moderate success with a stylistic array of electronic pop and sample-based instrumentals, but critics often felt that the releases were too disjointed and cluttered to truly capture a consistent audience. Shortly after the release of The Whitey on the Moon UK LP in 2003, Rossen joined the up-and-coming Grizzly Bear as an additional songwriter and guitarist. He proved vital to the success of the breakthrough Yellow House, an album whose critical acclaim remains nearly unmatched in the world of contemporary indie-folk. During this time, Nicolaus was worked a normal job but kept in constant contact with Rossen, supplying constant ideas as they continued to work on material for Department of Eagles. In December, the two began to focus on their second album under the name of Department of Eagles. Enlisting Grizzly Bear’s drummer, Chris Bear, and bassist Nat Baldwin to complete the rhythm section, they named the result In Ear Park when tracking and mixing concluded in May.

While I was personally impressed with some material that Rossen and Nicolaus have collaborated on prior to In Ear Park, this album is a major stepping stone in both of their developments as songwriters. While I do imagine that much of it has to do with Rossen’s newly founded experience as one of the main songwriters for one of indie-folk’s strongest acts in Grizzly Bear, longtime fans of Department of Eagles could easily tell you that chemistry between Rossen and Nicolaus created something that was eventual, regardless of any previous breakthrough projects. The album itself was written partly as an ode to childhood, with Rossen making it a tribute of sorts to his recently deceased father. The actual “Ear Park” is a park in Los Angeles in which Rossen and his father used to visit, a touching point of significance when the song is being played. A lo-fi charmer, the duo shuffles through a series of intricately composed guitar arpeggios as Rossen relays his tender voice through a midst of backing strings and twinkling keys. The melody and instrumental capacity is astoundingly beautiful, especially when the subject is in consideration. The following track, “No One Does It Like You”, captures the essence of ‘60s pop in extravagant form. Backing vocals are exceptional here, simultaneously adding to both the rhythm section and enthralling melody in the deep and heightened tones, respectively. “Teenagers” is another key-led spectacle that later bursts into a consuming array of subtle horns and strings, highly indicative of the duo’s impeccable value on songwriting and production. When In Ear Park is released on October 7th, I strongly recommend the purchase. It is an album whose critical acclaim is imminent for good reason.

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Department of Eagles - No One Does It Like You

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Department of Eagles - In Ear Park

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Department of Eagles - Teenagers

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It must be a thrill to have a professional song written about yourself. Even one success could bring the targeted interest to their knees, especially if the songwriter at hand actually holds a reciprocated romantic interest of some sort. Unlike other indie-pop groups who were already conjoined by romantic relations before or in the midst of their formation like Mates of State or Viva Voce, the two married members in Loquat had to grow accustomed to involving marital topics several years after the group’s formation in 2001. Songwriter/vocalist Kylee Swenson fell for bassist Anthony Gordon in the most musically productive way possible prior to the release of Secrets of the Sea, channeling their emotions into songs that were highly reminiscent of the band’s accessible indie-pop approach and romanticized atmosphere due to the sudden increase in personal activity. In fact, one could easily make the argument that the expansion of their relationship into something more idealistic consequently resulted in an expansion of their music on both an emotional and stylistic level. Soaked over an array of guitars, keys, and synthesized strings, both members found that the song’s topics could be about them at any time. For a band like Loquat, though, who specializes in breezily memorable hooks and romantically anecdotal lyrics, it simply adds to a rarely accomplished feat in contemporary pop music that is focused on sincerity.

Despite the emergence of marriage allowing for a generally more cohesive lyrical front on Loquat’s newest effort, it turns out that the recent marriage of Swenson and Gordon was only one of the few things that effected the recording of their second album, Secrets of the Sea. “Births, deaths, and a lot of intense things happened while we were recording this [Secrets of the Sea] album,” Swenson claimed, heavily hinting at the fact that the several members of Loquat contribute to songs that are in more ways personal than they are theoretical. Compared to their debut album, It’s Yours to Keep, and the success it saw on several television shows like One Tree Hill, the content is deeper and more sincere on Secrets of the Sea. Experience and personal relationships are the prime beneficiaries here, resulting in a wider range of styles and emotional approaches that allows the five-piece to explore their stylistic roots while simultaneously expanding upon their previous emotional usage. “Stop your complaining cause it’s draining me out, for them it’s freezing yet you think of yourself.” Swenson sings during “Go Hibernate”, a track whose focus on self-absorbedness almost comes off as a warning against the unfortunate majority who subconsciously manipulate their partner through white lies and false morality.

While the lyrical content serves as the strongest batch of songs Loquat has released on that front, the most striking aspect to previous listeners will be the diversified array of styles and melodic forms that the previously linear group has attempted and mostly succeeded in. The aforementioned “Go Hibernate” capitalizes on feelings of betrayal and regret by introducing a focus on a heavily chugging bass line that is abruptly complemented by a few concise synth keys. When the chorus arrives and Swenson reveals to the listener a variety of revelations pertaining to an immoral lover who remains unchanged against the harsh brush of society, the perkiness picks up in her voice as the rhythm section explodes into full force and the guitars shift into a vigorous progression. The transition from serene verse to distorted chorus is commendably done, even if the remainder is somewhat predictable in tone and structure. For listeners who find appeal in tracks with a heavy set of emotions, catchy instrumentation, and unintimidating structural tendencies though, a track like “Go Hibernate” can work wonders. A track with a more guitar-led approach like “Comedoewn’s Worse” succeeds and falters in similar ways, sacrificing ambition for surefire hooks but doing so in a way that is not overly desperate. All in all though, the consistencies found on each and every track on Secrets of the Sea makes the effort very worthwhile for fans of the indie-pop genre and for those who appreciate genuinely invigorating pop hooks. The fact that they have become more emotionally progressive also remains wildly appealing.

For a group consisting of Loquat’s female-fronted indie-pop atmospherics, comparisons to acts like Mates of State, Cat Power, and Metric seem bound to come up. The question of how Loquat separates itself from the pack can be rather unassuming at first, but a concentrated listen throughout the album will treat patient listeners with several rewards. A track like “Harder Hit” immediately opens up the album with an extremely radio-friendly effort that sees Swenson’s heartrending vocals at their ultimate best. In typical form, a star-studded chorus sees instrumental additives illustrate themselves cohesively over an operatic performance from Swenson herself. Once again, the transition from subdued verse to highly volatile chorus is present and not even nearly shameful, as the diversity that Loquat presents in their songwriting on tracks like the key-tinged “Harder Hit”, the orchestral accompanied and acoustical flair of “Clearly Now”, and the slick synth-based rhythms of “Sit Sideways” is certainly enough for a band of their engagingly appealing nature. They are not the most structurally ambitious folk writing indie-pop songs today, but there is no denying that the 5 members in Loquat have the esteemed ability to write hook-filled songs that will remain stuck in your head for days. On Secrets of the Sea, they have simply perfected their own formula through the involvement of personal relationships and sociological patterns.

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Loquat - Go Hibernate

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Loquat - Sit Sideways

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Loquat - Harder Hit

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First of all, I’d like to apologize for the lack of updates this week. I just moved into college and it’s been hectic (and insanely enjoyable) since Saturday. This will not be the usual though, as this should be the only week where updates are condensed. Expect the usual when Monday rolls around and classes actually begin, as I still believe that my relocation to DC will provide this site with a boatload of opportunities. After all, I was previously located in the dull area of suburban New Jersey. Anyway, one of several new bands I have been listening to lately has been one that has been generating quite a bit of hype since their debut in 2005. Previously, my discovery of new music was limited to submissions and searches on my own time. The move has allowed me to connect with some great people, a handful of which have a very commendable taste in music. Not to bash my previous town, but the tastes there were limited to an aggravating extent. A great gal by the name of Melyssa introduced me to The Hush Sound, a group she deemed “obscure enough” to appear on the site. And though it is true that The Hush Sound have been gathering enough steam to become one of the breakthrough acts of the year lately, the music certainly warrants the attention.

The roots of The Hush Sound trace back as early as middle school for its founding members. Greta Salpeter was in 7th grade when she met Bob Morris, a high school student at the time. They found a personal connection in the field of music, with Morris being a skilled guitarist in several local rock bands in addition to Salpeter’s studies as a classical pianist. They eventually began writing songs and performing together, initiating The Hush Sound in late 2004 when they felt that their material was captivating enough to display. Bassist Chris Faller and drummer Darren Wilson, previously members of Until Sundown, joined shortly thereafter to complete the quartet. The recording of their debut album, So Sudden, commenced in March of 2005 and the album was released in October. Originally released without a label, it was re-released after The Hush Sound signed to Decaydance Records in 2006. The studio in which it was recorded in was later named after the album, illustrating how quickly success was arriving for the Chicago-based four-piece. The signing to Decaydance was spurred by the support of Panic at the Disco after Ryan Ross and Pete Wentz found “So Sudden” on Purevolume. This encouraged development for their second album, one that saw the group’s success arrive even more suddenly.

Like several other bands nowadays that have latched onto the youthful surge of emotive indie-rock, The Hush Sound caught the attention of Patrick Stump for the release of their second album, Like Vines. Joining the likes of Cobra Starship and Gym Class Heroes, Stump produced the sophomore effort in a display that was more demonstrative of cohesive and accessibly infectious indie-rock. The Hush Sound’s key-driven melodies were acclaimed by the likes of AbsolutePunk, selling over 60,000 copies in the process. The following months saw them tour with the likes of Rooney, Panic at the Disco, and the previously featured Murder by Death, all bands who offered an accessible formula within a style that remained unique to their intended audiences. Following the success of Like Vines, The Hush Sound returned to the studio for a third time with Goodbye Blues. Now with a substantial fan base under their belts, the album saw immediate success upon its release in March and debuted at #75 on the Billboard 200. The most dramatic stylistic transition found on the album is based around Salpeter’s vocal usage, as she serves as the lead vocalist on 9 of the 13 tracks. Consequently, the material appears more pop-oriented when compared to the angsty vocals of Morris. It serves as one of the several reasons why Goodbye Blues is the definitive stepping stone in the evolution of The Hush Sound’s sound.

While I do admit that the first two albums from The Hush Sound were not my cup of tea, Goodbye Blues has really impressed on several fronts. Apart from the commendable utilization of Salpeter’s vocals, the stylistic approach found on the album surpasses all previous attempts substantially. A track like “Honey” may have sounded out of place on an album such as Like Vines, but the outright cohesiveness of Goodbye Blues allows the seductively intertwined key and guitar-led melodies to flow freely without any qualms. The track serves as a perfect example of The Hush Sound’s approach, with Morris’ snarling guitar communicating audibly with Salpeter’s piano. The rhythm section is also impressive, especially for a band of The Hush Sound’s pop-driven nature. “You are my love,” Salpeter croons during the breezy chorus, an enjoyable contrast when compared to the budding verses. “Medicine Man” is a grittier and equally successful attempt, driven initially by the propulsion of Chris’ bass line. A flurry of keys then emerge over some top-notch production, courtesy of Kevin Augunas. About mid-way through, it transitions into a beautiful bridge in which Salpeter’s keys glide freely over consistently engineered production. They even prove with a ballad like “Hurricane” that high-powered anthems are not the only trick up their sleeve, as the emotions channeled by Salpeter are wholesome and pure over a delicate key-driven melody. For a band of their nature, The Hush Sound have made a remarkable transition with Goodbye Blues.

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The Hush Sound - Honey

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The Hush Sound - Hurricane

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The Hush Sound - Medicine Man

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As all music fans know, a listener’s mood can be a significant determining factor in choosing which record to pull from the shelf and give a listen to. Whether you are coming off the worst relationship of your life, partying hard on a Friday night, or cramming the night before a final exam, there is always something that just makes it seem all the better. As for an emotional state of indifference, a desire for something fascinating and memorable are often the only prerequisites, at least for me personally. A collection of varied emotional interpretations also serves nicely, depicting a wide range of moods that such a respective listener can tend to appreciate more than relate to. In such circumstances, the music of Acorn Project tends to sound best. Not only can the instrumentally eclectic group seamlessly unveil a wide range of both downcast and sprightly emotions, but they also do it in a form that is fun and consuming. Yeah, “fun” is a very linear sounding term when applied to music, but those who give a listen to Acorn Project should understand. With prevalent uses of saxophone and slide guitar making their way over a revolving array of accessibly intertwined genres, their ability to ceaselessly entertain has made them a local trademark in their native Bellingham, Washington.

Though I do believe that Acorn Project’s music seems best suited for individuals with no consistent set of emotions, this is not to say that the music of Acorn Project is for overly passive individuals. I actually say it as a compliment, as there are certainly more artists today who specify in one specific sentiment than others who dare to venture in more emotionally flexible territory. Funk and prog-rock are the most evident styles at hand, though the sextet shows a tendency to dwell on as many varying genres as emotions. They usually correlate as well, as the perky piano-led pop in the anecdotally impatient fervor of “Hello Neuman” or the chilling alt-rock progression in the brooding “Wellness” demonstrates well. These tracks derive from We’ll Be Fine, Acorn Project’s second album. The 2006 release of their debut, Odd His Sleepy Soar, brought them plenty of attention throughout the Pacific Northwest and their shows - drawing hundreds of people due to their growing reputation - did even more justice. We’ll Be Fine looks to be the album that should jump this talented group into a broader light, a more deserving placement considering their impressive diversity and esteemed level of musicianship.

Acorn Project’s swirling mixture of rock, blues, and funk serves as a cohesive format for the instrumentation of choice. Apart from the multifariously talented drummer and saxophonist Sam Lax (who is exceedingly impressive), each member specializes in an instrument in which they have clearly studied up on. To no surprise, considering that they have influences heavily derived from blues and funk, it is even prevalent on record form that Acorn Project are an exceptional live band. While infectious, radio-friendly pop and rock songs like “Hello Neuman” and “Gringo Starr” are noticeable on We’ll Be Fine, the group’s more ambitious leanings are also quite conspicuous. “Crystal Myth” features an enthralling intro that mixes the seductive croon of a saxophone with a few slick guitar licks and a more restrained execution of keys, a mere tease of what is yet to come. Along with Andy Pritiken’s apt vocals providing a structural backbone, guitar solos, sax solos, unconventional percussive fills, and sharp key changes carry the song’s success. When “Crystal Myth” shifts into an irate form of alt-rock around the 04:30 mark, listeners may be understandably caught off guard. But when the section subsides and the icy chill of a saxophone fills the air over a funky guitar progression, it becomes evident why it was put there in the first place. Shown best on the epic “Crystal Myth” and “Werner, Terner”, the ambitious nature of Acorn Project nearly always comes out successfully despite any initial judgments that listeners are inclined to make.

The aforementioned “Gringo Starr” surprisingly borrows more from folk and country than it does blues and funk. Yet another indication of Acorn Project’s eclectic nature, Pritiken muses about the merits of freedom from the perspective of some with a slightly microscopic interpretation of humanity. “That’s when I realized that this is what I need to be free,” he sings over a slide guitar and frantic variation of keys. “Free from anxiety that society brings down on me.” It is nothing short of inspiring how Acorn Project are able to incorporate their select choices of instrumentation – saxophone, slide guitar, and keys – in nearly all of their tracks despite the altering style at hand. It just goes to show that the group has made the evolution from primarily a “live band” to studio whizzes with heaps of good songwriting ideas up their sleeves. There are 3-minute radio-friendly charmers like “Gringo Starr” sitting alongside epic forces like the 8-minute “Werner, Terner” and “Crystal Myth”, with both forms finding success on their own separate terms. As is the case with most music whose origins trace back to blues and funk, the music is highly expressive, which leads us back to the sextet’s highly interpretative display of emotionalized characteristics. Whether the lightheartedly optimistic view of “Gringo Starr” or the ominous sax-led flair of “Stomp” fits your current mindset best, there is guaranteed to be something for everyone’s current psyche on the intricately resounding We’ll Be Fine.

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Acorn Project - Crystal Myth

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Acorn Project - Gringo Starr

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Acorn Project - Stomp

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Losing a member of a band to death can be devastating. No matter how many arguments and fistfights were initiated in the past, it is a fact that many groups tend to form a family-like bond after years and even months of touring and working together. This is especially the case for bands that are just starting to see glimpses of success for the first time, as years of sharing a two-person hotel room with 5 other people when times are tough on the road allows for something more than a simple friendship to be made. Circumstances can be gruesome, but any group of musicians who have seen success together mutually have had a relationship that is fruitful in some form. And when death takes even one member away, it is often that the other members see no real reason to carry on. They become so accustomed to working with that individual and taking into account their contributions that writing music without them in the same group can feel foreign and frustrating. I hate to start this feature on such a negative note, but I have always appreciated how artists are able to transmit their negative energy into remarkable works of art, especially when their personal life is inflicted negatively by something beyond their own control.

When Ra Ra Riot’s original drummer, John Pike, was found dead on June 3rd of 2007, his former band mates were stunned. “This has felt like the unraveling plot of a tragic piece of fiction,” they said in a press release. “Nothing would have prepared us for such an immense loss.” It came at a tragic time as well, as the talented sextet was just a month away from releasing their eponymous EP after recently generating a substantially sized fan base, thanks in part to their excellent live performances. They were signed to a label and clearly on their way; it was a form of success, though, that was delayed and possibly obliterated due to the death of the “wonderful person” that was their drummer. When I first heard this news about a year ago, I wondered whether the group would carry on. After all, such a young band losing a friend like that can be devastating. Considering that Pike also served as a lyricist, it reminded me a bit of guitarist/lyricist Richey James and his sudden disappearance in 1995. The Manic Street Preachers had already released a few praised albums at that point, but they were just beginning to receive national recognition after the release of the classic The Holy Bible in 1994. Whether or not the band would carry on was a question, but they have released 5 albums since, 4 of which have reached the top 10 on the UK album charts. Call it a hunch, but after listening to their debut full-length, something tells me that the members of Ra Ra Riot are strong enough to prevail similarly.

About a month after Pike’s death, the band announced that they would continue in Pike’s memory. He is still listed on the band’s MySpace as “co-writer / lyricist / vocalist, drummer, and lifelong inspiration”, a commendable sign that the band has moved on but will never forget. A string of tour dates and the eponymous EP in 2007 brought the group increased recognition as they prepared their debut full-length album, The Rhumb Line. Now, with the album set to be released in a week on August 19th, I can’t help but be impressed with the final result, downcast past or not. Remarkably enough, the group plays with the same fervor they did a year ago when the public eye just began to loom. The album itself serves as a fine example of the group’s potential, with their flashy style of art-rock serving as both an accessible and contagious interpretation of contemporary indie-rock. The New York-based group works with tinges of post-punk and punk, implementing both cellos and violins over a zealous display of dazzling guitars and tenacious rhythm sections. Vocalist Wesley Miles emits a sharp, slightly high-pitched tone that is reminiscent of vocalists in the vein of Nick Stumpf (The French Kicks) or a more subdued Hamilton Leithauser (The Walkmen). All together, it creates a very convincing sound that proves memorable despite its common originations.

In addition to his role as a co-songwriter on a handful of tracks, one notable posthumous contribution from Pike on The Rhumb Line comes in the form of lyrical content. With Miles, he wrote “Dying is Fine”, a gripping track that wholly capitalizes on the group’s stellar mixture of strings and guitars. The title and chorus borrows quite a bit from poet E.E. Cumming’s “dying is fine)but Death“, a fascinating work that reveals the difference between death and dying, where one is “perfectly natural” and the other is “strictly scientific & artificial & evil & legal”. With the lines serving as the main hook, the topic is emotionally ironic and the melody is addictively consuming. The mournful “Ghost Under Rocks” also makes excellent use of strings, guiding yet another captivating chorus as Miles yelps in perhaps his most emotionally resounding vocal performance on the album. “Here you are, you are breathing like little ghosts under rocks,” he sings, speaking of romanticized suffocation in mildly poetic form. “Winter ‘05” sees this string-guided approach take a major lead as strings solely guide the sweeping melody until a light use of percussion emerges. When compared to the regretful - though dynamically vigorous - yelps and moans of “Ghost Under Rocks” and “Dying is Fine”, Miles’ vocals here are appropriately more somber as the strings increase in intricacy and the percussion subtly adds several shuffled components. Along with a cover of Kate Bush’s “Suspended in Gaffa” making the cut, The Rhumb Line serves as an enjoyably eclectic album within a fused genre that desperately needs it these days.

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Ra Ra Riot - Dying is Fine

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Ra Ra Riot - Ghost Under Rocks **

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Ra Ra Riot - Winter ‘05 **

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**Tracks removed upon request of artist**

Though it may erroneously come off as insulting, some groups are better suited at releasing a handful of EPs consecutively instead of churning out one full-length album every few years or so. Artists who follow such a process are in the minority, of course, but those who choose to do so are often propelled by the variability of their stylistic approach when such a decision is made. We have all seen recent indie-rock acts that have tested the waters with a handful of EPs prior to releasing a full-length album, a method that allows the artist to capitalize on obliging forms of constructive feedback that would not be possible outside the studio if a full album was released with little to no impending hype. Both creative and financial resources are conserved; it is a welcoming approach for any bands with obvious talent but a weakness in execution. To no surprise, this method can also bode well for artists who look to improve upon an initial sound that may have had too many faults to begin with. A learning process is certainly part of quality songwriting, and many bands often charge toward the studio prematurely in hopes of their evolving style of play somehow instantly improving with a bit of studio magic. With the right people and ideology, the instantaneous magic has worked before… but certainly not for the most part.

The New Up released an eponymous album in 2004 to marginal reception and a boatload of comparisons to preceding groups of a similar vein, qualities that could very well have been attributed to a style that was wildly comparable to other prominent indie acts at the time. The group’s originality may have occasionally come into question but, considering the group’s high level of cumulative talent, was wisely dismissed by those few who were already familiar with The New Up at the time. The debut was filled with several briskly consuming highlights, but with other groups like Metric and Mates of State capitalizing to a more memorable extent on a capricious form of female-fronted indie-pop, the comparative process led many to believe that The New Up were not fulfilling their potential as songwriters in releasing something that was of a more unique nature. Three years later, they answered the call with Palace of Industrial Hope, an album that was released last year and continues to be somewhat overlooked. Expanding their indie-pop territory into groupings of psychedelia, rock, and funk, longtime fans were finally content and new ones were captivated, although it did not reach as many people as it deservedly should. For this minor issue of exposure though, the group has a plan that may end up being cleverly effective.

While Palace of Industrial Hope was a commendable improvement upon the self-titled debut in terms of melodic content and stylistic diversity, the 5 members seem to be the types who simply are unable to reach a point of contentment when it comes to their art. In music, this type of persistence can work wonders as long as patience and timing are valued by the artist. Considering that it took The New Up over three years to complete the fulfilling follow-up to their debut album, I doubt that those aspects will be an issue. Combine this sense of persistence with the general outlook that Palace of Industrial Hope deserves more attention and you have a new distribution plan set in motion by the five-piece. Over the next 18 months, they will release three EPs that simultaneously introduce both new and old material alike. In addition to including a highlight or two off of Palace of Industrial Hope, each new EP will offer up a handful of new tracks that serve as a continuation of the appealing style of play pursued on Palace of Industrial Hope, a rather interesting strategy that the band hopes will satisfy faithful listeners while they simultaneously seek out potential fans.

The first of the three EPs is entitled Broken Machine, a 5-track effort in which the self-titled track is included after appearing on Palace of Industrial Hope. I imagine that the other two EPs will be named after the pre-released song in question, though that is merely speculation. “Broken Machine” itself was one of my favorites from the album, so I was relieved to find that the EP featured four other unreleased tracks that cohesively surrounded the self-titled track. “Broken Machine” is set against a heavy bass line, a flurry of distorted guitars, and an occasional sprinkling of keys, with Pitcher’s sultry vocals enhancing the sensuous display of alt-rock and post-punk. Most music of the genre tends to be gritty and instrumentally disoriented, but “Broken Machine” emits an unconventional tone of polished anguish and melancholy; it is one of the several components that are responsible for the song’s success. Pitcher’s vocals are absolutely perfect for the style that she, guitarist Noah Reid, “electronics guru” Hawk West, bassist Dain Dizazzo, and drummer Jack McFadden masterfully emanate. Out of the 4 other tracks, “Libations” stands strong for its key-led chorus in which Pitcher and Reid duet impressively. Reid also lays down some impressive guitar work toward the end of the track.

The opening “Ginger Tea” also proves quite memorable, employing a similar formula to that of “Broken Machine” in which bass, guitar, and drums collide with subtle electronic implementations in the form of whirring synths and trickling keys to establish a very consuming result. Pitcher’s vocals are excellent here as well, one of the several facet of success that appears consistently worth mentioning. If you notice by these three featured tracks, they all appear to be in the same realm as “Broken Machine”. Palace of Industrial Hope was an album that saw the five-piece at a stylistically multifarious peak, and I imagine the next two EPs to be somewhat dissimilar in nature because of it. Regardless though, the first of them is a very satisfying affair. In fact, rarely do you come across an EP where the majority of tracks are even better than a preceding album that was impressive in itself. Broken Machine is released tomorrow, so pick that one up in addition to Palace of Industrial Hope if it floats your boat.

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The New Up - Broken Machine

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The New Up - Ginger Tea

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The New Up - Libations

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